Currently Ciani resides in Northern California where, in 1995, she established her own record label, Seventh Wave. Ciani felt the need to own and control her own creative work. "In many ways, this label represents the culmination of the long journey of my evolution as a recording artist," says Ciani.
In the eighties and early nineties, in order to finance her recording projects, Ciani brought her expertise to Madison Avenue. Her New York-based commercial production company, Ciani-Musica, Inc., was the leader in the field of sound design and TV spot scoring, creating award-winning music for a host of high profile Fortune 500 clients, including Coca-Cola, Merrill Lynch, A T & T and General Electric. Additionally, Ciani has scored the Lily Tomlin feature 'The Incredible Shrinking Woman,' and 'Mother Teresa', as well as scoring for the TV daytime serial 'One Life to Live'.
In the early nineties Ciani re-located to northern California to concentrate on her artistic career from her sea-side studio. She has toured throughout the United States, Italy, Spain, and Asia.
Her many recognitions include five Grammy nominations for Best New Age Album, an INDIE award for Best New Age Album, numerous Clios, a Golden Globe, and Keyboard Magazine's "New Age Keyboardist of the Year."
Ciani is a graduate of Wellesley College and holds a Masters in Music Composition from the University of California at Berkeley.
University of California at Berkeley
Visit the link, Suzanne and Electronic Music
New York, TV and More
Visit the link, Commercial Themes and Sound Logos
Visit the links, Early Ciani Photo Gallery
and the Ciani Mementos
and the Ciani Mementos page
Building The Recording Catalog
The Home Studio
As an undergraduate at Wellseley College, Suzanne began dividing her time between performance and composition. She also began her fascination with technology when one of her classes took a field trip to nearby M.I.T., where a professor demonstrated his early attempts to make a computer produce the sound of a violin. Upon graduation, she went to the University of California at Berkeley to continue her studies in composition. She received her Masters Degree in composition there, but more importantly, at nearby Stanford University and Mills College, she met three of the founders of electronic music: John Chowning, Max Matthews and Don Buchla.
Suzanne became entranced with the ability to produce music with a machine, and she became a devotee of synthesizers for the next two decades. She has often joked that for at least ten years she was essentially married to her Buchla synth, and in fact she did leave the massive machine running for months at a time, programming it to compose and play endless compositions.
For Suzanne, this was the essence and importance of the synthesizer - it could do things no other instrument in history could do! It could work sub and super sonically; it could hold a note for days; it could play with perfect pitch in a perfect sine wave. Using dials, knobs and patch cords, Suzanne engaged in an elegant dance with her synthesizer to produce her ground- breaking electronic albums, while always remaining true to her classically inspired sense of melody.
Suzanne believe that the synth should follow its own course as an instrument, but her position ultimately lost out to those who wanted simple machines that duplicated the sounds of other instruments and had preset voices. As this change in the world of electronic music and instruments came about, Suzanne found herself returning to classical instrumentation in support of her melodies, culminating in her Grammy-nominated album for piano and orchestra, "Dream Suite." This same sensibility is evident in "Pianissimo II" and "Turning" as well.